Neysa McMein Art
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Artist: Neysa McMein
"Looking Into the Mirror" Cover Illustration, Woman's Home Companion
By Neysa McMein
Located in Fort Washington, PA
Inscribed and Signed Lower Right "To / Olive Godwin / Neysa McMein"
"Looking Into the Mirror." Cover for Woman's Home Companion, published June 1938, with their stamp on verso. Past...
Category
1930s Neysa McMein Art
Materials
Pastel
"For Their Sakes - Work Together" Poster Maquette, NCCJ
By Neysa McMein
Located in Fort Washington, PA
Signed "McMein" Lower Right
"For Their Sakes - Work Together." Poster maquette for the National Conference of Christians and Jews, Brotherhood Week. T...
Category
Early 20th Century Neysa McMein Art
Materials
Oil
Saturday Evening Post Cover, Evening Gown May 21st, 1938
By Neysa McMein
Located in Miami, FL
Pastel on board - Saturday Evening Post Cover, Evening Gown May 21st, 1938 - Reproduced version looks better because the Saturday Evening Post Art Director retouched the plates before printing and strengthened the colors to give it more newsstand appeal - From Wiki : as an American illustrator and portrait painter who studied at The School of The Art Institute of Chicago and Art Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P...
Category
1930s American Impressionist Neysa McMein Art
Materials
Pastel
Associated Sunday Magazine Cover
By Neysa McMein
Located in Fort Washington, PA
Medium: Pastel on Board
Signature: Signed Lower Right
Sunday Magazine The Sun Cover, October 4, 1914.
Category
1910s Neysa McMein Art
Materials
Paper, Pastel
McCalls Magazine Cover
By Neysa McMein
Located in Fort Washington, PA
June 1925 McCalls magazine
'To the Girls of St. Agnes Seminary'
Neysa Moran McMein – later Mrs. John Baragwanath – wanted, as a girl in Quincy, Illinois, to be a musician. Although she changed her mind and attended the Art Institute of Chicago, she paid her way through school by writing music and playing piano in a ten-cent store.
During World War I, she went to France under the auspices of the YMCA, and entertained the troops with her singing and piano accompaniment to showings of Winsor McCay’s animated film “Gertie the Dinosaur”.
She painted her first McCall’s magazine cover in 1923, and for many years made pastel portraits of beautiful or notable young women for McCall’s monthly issues, as well as occasional covers for the Woman’s Home Companion, McClure’s, Photoplay, and The Saturday Evening Post. She also regularly contributed her drawings to the annual New York Times’ Hundred Neediest Cases.
McMein was equally noted as a hostess and friend of such notables as Alexander Woollcott, Irving Berlin, Marc Connolly, Ben Lillie, Irene Castle...
Category
1920s Other Art Style Neysa McMein Art
Materials
Pastel, Board
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Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter.
Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment.
However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920.
A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York.
Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change.
The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934.
He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950.
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"Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978)
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"Ungarische Avantgarde in der Weimarer Republik," Marburg (1986)
"Modernizmus," Eresz & Maklary Gallery, Budapest (2006)
"Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007)
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Previously Available Items
Saturday Evening Post Cover August 11th, 1917
By Neysa McMein
Located in Fort Washington, PA
Signature: Signed Lower Left
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1910s Neysa McMein Art
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Neysa Mcmein art for sale on 1stDibs.
Find a wide variety of authentic Neysa McMein art available for sale on 1stDibs. You can also browse by medium to find art by Neysa McMein in crayon, pastel, board and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the Impressionist style. Not every interior allows for large Neysa McMein art, so small editions measuring 19 inches across are available. Customers who are interested in this artist might also find the work of William Merritt Chase, Wilson Henry Irvine, and Henry Bacon. Neysa McMein art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $2,400 and tops out at $175,000, while the average work can sell for $16,500.